A study that looked at reader engagement across articles that contained charts and infographics vs. articles that were text-only found that those with graphical storytelling, or what I like to call data storytelling, had up to 34 percent more comments and shares and a 300 percent improvement on the depth of scroll down the page.
Using storytelling techniques to present data not only makes it more visually appealing but also enables easy spotting of key trends, seamless results-tracking, and quick goal-monitoring.
Here are things that can help you build a bridge from your current methods to effective data storytelling–
Choose a topic by identifying your target audience, the goal of your visual, what you would like to achieve.
Organize your data by thinking about what you want to convey and then get rid of anything that doesn’t help you tell that story.
Spend time making your visualization look sharp by keeping it simple, using color and interactivity.
A few bonus tips to make your data visualizations really pop–
Don’t use more than two graphs at a time so as not to confuse participants.
Stick with one color per graph; making things multicolored will cause data to look jumbled.
Give context to your concept. Introduce your idea slowly and tell the story of what you want your data to reveal instead of assuming everyone in the room is on the same page.
Try using interactive data storytelling techniques to support your data.
more on digital storytelling in this IMS blog
Project Hikari: Tales of the Wedding Rings lets you walk into a manga and become part of the story.
Japanese company Square Enix is looking to broaden the VR storytelling conversation by bringing 3 genres together into one incredible VR experience with Project Hikari: Tales of the Wedding Rings,
“We wanted to do something differently with this technology—we wanted to take VR into a different kind of direction,” Sou told VRScout in an interview. “We asked ourselves: how do we make content that is really unique, and something only our company can do?”
The team realized that manga could provide a creative new avenue of immersive story. Their approach was to create a style that blends animation and comic—giving you the ability to move in and out of panels. Sometimes you can see a range of still panels, others you’re engulfed in the animation of one scene.
I worried that the linear narrative of the manga might interfere with the immersion of VR, or that voiceover narration would keep me from discovering aspects of the story myself.
That worry was completely eliminated almost immediately the moment I put the headset on and the experience began. The Square Enix team was very creative with how they used narration along with the animation within the panels to bring the experience to life. I loved this VR take on the manga, and found Tales of the Wedding Rings to be an incredible experience that honored both mediums.
It’s a cross-section of a lot of different mediums because you have VR, manga (comics), and animation
Neurological research shows that tragic experiences can affect brain development and impact a child’s ability to concentrate and relax.
In an attempt to offer more psychological support, they reached out to Grossman who is a teacher and co-founder of Mindful Schools. The definition of mindfulness, says Grossman, is to “pay attention, on purpose, to the present moment.”
a form of narrative therapy for the students.
“Mindfulness taught our kids that they have the ability to make wise choices, and it’s strengthened their resiliency.”
Ben Ward, Kansas State University
Transmedia, unicorns, and marketing, oh my!: The not-quite epic failure of transmedia design efforts in Oz.
Transmedia storytelling, also called Alternate Reality Games, have been designed to intrigue, engage, and even engineer groups of people since the release of The Beast in 2001. A few colleges and Universities have employed them to engage their student populations and even teach them a thing or two using narrative game mechanics. Presenters will chronicle a highly successful transmedia design effort at Kansas State University, and the subsequent annual efforts to replicate the engagement and enthusiasm. Best practices and not-quite epic failures will be discussed, as will tips (and laments) for marketing to our current student populations.
Rossiter & Garcia (2010) consider “digital stories are short vignettes that combine the art of telling stories with multimedia objects including images, audio, and video” (p. 37)
Is Digital Storytelling more then just storytelling on technology steroids?
What is Digital Storytelling (DS) for school leadership? A bibliographic research reveals a plenitude of research on DS in the classroom, for educators, but not much for educational leaders.
Guajardo, Oliver, Rodrigez, Valcez, Cantu, & Guajardo (2011) view digital storytelling for emerging educational leaders as “as a process for data creation, analysis, and synthesis.”
There is information for corporate leaders or community leaders and DS, but not much for ed leaders.
Let’s create our own understanding of digital storytelling for educational leaders.
Basic definitions, concepts and processes.
Learn about Web 1.0 versus Web 2.0; the Cloud; transliteracy and multiliteracy
Multimodal Literacy refers to meaning-making that occurs through the reading, viewing, understanding, responding to and producing and interacting with multimedia and digital texts. It may include oral and gestural modes of talking, listening and dramatising as well as writing, designing and producing such texts. The processing of modes, such as image, words, sound and movement within texts can occur simultaneously and is often cohesive and synchronous. Sometimes specific modes may dominate.
Using Ursula Le Guin short story “The Ones Who Walk Away from Omelas,” has allowed Fruchter to make his computer science math classes entirely project-based, which in turn draws the interest of kids who might not have otherwise liked computer programming.
teaching computer programming with fiction into a curriculum called StoryCode. He classifies STEM fiction into three categories: explicit, science fiction and implicit STEM texts.
“When you can call a line of code a spell, then you are getting somewhere,” Fruchter said. After all, isn’t computer code basically modern magic?
Ursula K. Le Guin on Art, Storytelling, and the Power of Language to Transform and Redeem